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Arts
The Michigan Daily Wednesday, Augustl5, 1981 Page 9

Gaga for
By KAREN GREEN
Daily Arts Writer
Monday night Second Chance gave us
the opportunity to see two different ver-
sions of women in rock. Although there
were flaws (musical and political) in)
both approaches, at least the attempt is
being made by some to get away from
the four- or five-piece macho strut bard
that has been the mainstay of rock for
years, with only minor new wave
modifications.
THE ROOMMATES are a "coed"
group from Detroit. The drummer and
lead guitarist are male. The vocalist,
bassist, and rhythm guitarist are
female. For the most part, the band
both plays down and plays upon their
sexuality: The women draw on their
strength as musicians rather than their
looks, while -the men appeared to be
wearing makeup.
The diminutive singer, however, ob-
viously hoped for a visual appeal.
Dressed in black tights and leotard un-
der a clear plastic raincoat (which she
apologized for as it steamed up midway
through their set), she looked and
moved like a punked-out pixie.
The Roommates produced music that Belinda
was strong and melodic, with a chunky Hollyw
rhythm usually dominating. One ska- femininity,
tinged number stood out in particular; the kind of
apparently they're drawing on all the a Hells An
right sources. Their choice of see-though
covers-"Brand New Cadillac" and tight black
Generation X's "Your gum, she
Generation"-also provided a clue to parents w
the band's musical predilections. and swear
THE GO-GO'S are an all-female good."
group from Los Angeles who pattern As a gr
themselves after and parody the all-girl consistent
bands of the sixties. songs. The
While the frills and dippy costumes tbreak nun
remain, The Go-Go's are not mindless groups-w
sex kittens, formed, groomed, and due melod
manipulated by some clever manager fering in t
or producer. For one thing, they aren't distinctly 1
being told what to perform; they write for whom'
their own material. And for another, was in/ Th
they play their own instruments and so
are clearly in charge of their sound.
Lead vocalist Belinda Carlisle
seems the most content to revel in a
slightly sleazy girl-group mystique.
Wearing a black sequined blouse and
ruffled skirt, she carries off the perfect
blend of naughty and nice; the kind of
girl who occasionally stays out a little
past curfew or necks at beach parties.
RHYTHM GUITARIST Jane Wiedlin
chooses to play up the tackiness of the
era, with heavily penciled eyebrows
and multi-colored rabbit's feet dangling
from her sleeves.
Bassist Kathy Valentine playfully
suggested the darker side of the sixties

The Go-2os

UCarsile, lead singer for lTe
ood-blonde locks.
, coming off something like
girl you'd see on the back of
gel's motorcycle. Wearing a
black blouse and glittery,
slacks, incessantly chewing
seemed like the sort of girl
ould shake their heads over
r she would come to "no
oup, The Go-Go's played a
set of catchy, danceable
y didn't leave out the hear-
mber-de riguer among girl
Which they performed with all
ramatic schmaltz. Their of-
this genre, however, had a
1980s twist: Today's woman,
"It used to be that all the fun
e capture and the kill" has

gotten caught in her own nets and fallen
in love when she should have dumped
the guy.
FOR ME, this illustrates the problem
with groups like The Go-Go's. Surely
there must be a third way to
revolutionize women's place in the
music world besides parodying
feminine stereotypes or picking up the
uglier aspects of male roles.
It was amusing but also disturbing to
see the front of the stage jammed with
slack-jawed, wide-eyed boys ogling The
Go-Go's. Sure, they invite this type of
response, but it seems to me that they
aren't asking for a very meaningful
change. Non-cerebral dance music has
its place; it's just a shame to settle for
it when there could be so much more.

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