The Michigan Daily - Tuesday, June 18, 1985 - Page 9
Jazz and Buicks: Autoworld adventure
By arwulf arwulf exciting the first time they opened. I would serenade the wide-eyed, highly irritating "Food, Fibre and pocket, and I treated him to a recor-
Now, with the reopening, Autoworld nut-paced populace, right in the eye of Ford." ding of "Alexander's Ragtime Band"
T HIS IS THE Buick primeval. has changed. Many are reluctant, Hurricane Buick. Did you grow up Eric beamed with satisfaction. He by the Hoosier Hot Shots.
Driving in the fast lane. Enter though, to visit. Flint has a nasty hearing that big basso announcer on indicated the mob of swollen red- CHALLENGE PROFESSOR AR-
Flint, Michigan. The city is a Buick. reputation in these parts, and, with the TV console, as he boomed necks, beefy housewives, and sugar- WULF TO A TEST OF JAZZ TRIVIA
This, the place whence came all layoffs and closings the automobile WOULDN'T YOU REALLY RATHER sped kids, and said, "These people said the sign. Oh dear god, please, no.
Buicks. The focus, the pinpoint of our industry is a very touchy subject. Also DRIVE A BUICK? Jeezus, I sure did. aren't ready for this!" Indeed they But that's what it said and when the
modern Michigan recession. Flint, the there was some pretty awful press And here I was, a cog in the Buick, for weren't. trombone choir, calling themselves
city, in withering brick, tired air, and coverage leveled at Autoworld, and nine hours, on display. Good/Bad Art, Those Americans, I worry about "Chrome," began rattling questions
emptied streets. Occasionally there are you know how a little bit of press goes done live, American Headspin. them. Nowadays we pay people to do at me I fielded as best I could. They
desperate attempts at revitalization; a long way with most citizens. I stood in a very special part of our imagining for us. All these kept asking the names of Jimmie
quickie renaissance structural gim- Autoworld may have changed but the Autoworld. Behind me, an entire wall specimens in stretch pants and T- Lunceford's trombonists. I lost that
average guy and his family are just of three-sided revolving pariachtoids shirts, completely lost without a one. "Who was in Bill Evans' second
the same. Let's have a hamburger. clicked and shimmered, each face videoid directive. trio?" Damn if I know. I hardly follow
Eric Cole, known locally as the displaying an automobile insignia. That's why I dug what Eric was these white guys. (They laughed).
rotating host of WCBN's Nothin' But Legend has it every car- ever made in saying. Here was this conglamoration
the Blues program, has gotten a job at America is represented on that wall. of high-tech displays, flashing and But the star of the evening was J. C.
Autoworld. It was Eric who thought to Everyone who walked through that shooting sparks, hollering and singing Heard, walking history. Nattily
organize a jazz festival right there in section stopped and gazed tran- to get people's attention. Fifty yards dressed, he stood chatting with the
Flint, in the auto fair, and he's injec- sfixedly at the constantly moving away, under a gigantic revolving trombonists. He was full of wisdom.
ted a dose of Ann Arbor into the place. logos. Stare long enough and you are engine, was a stage with a new car on Anyone who has played with Billie
The reason I'm writing to you about it lost in this beautiful history of the it. Two black women in silver mini- Holiday, Lester Young, and a
mickry, each one waving its half- is that I was hired to make the hour automotive trademark. They move outfits danced around the car and thousand other legends, is going to
million dollar facade in your face. One drive up U.S. 23, and to appear with slowly, mysterious and elegant. I'm sang into microphones. Here I was, have advice and some weighty
block further, greytown once again. my ancient gramophones, scratchy 78 eternally grateful to Eric for placing with dusty old Victrolas and recor- viewpoints. I once asked him why
Every big city suffers from this sort rpm records and rare, colorful sheet me in that room. dings made in 1921. The contrast was America ignores Jazz and why so
of thing. Nothing in the world is so music, all from years long since For I stood in front of a kinesthesis refreshing. many musicians have had to go over-
strange and sad as Urban Renewal. passed out of public recognition. of Fords, Willys, Buicks, Crocks, A wise-guy robot glides around, seas to get recognition. "It's money.
Here, on a warm June day, the lessons Yes, I visited Autoworld. God knows Studebakers, Oldsmobiles, Toledos with accordion arms and boxing glove MacDonald's and Burger King are
of Flint dance like gruesome spectres. there was a Blues Festival in Chicago and Chevys, with a semicircle of hands. He sings along with my tunes, having a war to see who can sell more
We, the living, shy away from haun- that weekend, and plenty of gigs in tables in front of me, spinning records addresses me as "Dr. Arwulf." A New hamburgers and that's all anyone
ted ruins. Ann Arbor as usual. But somehow I from the first five decades of this cen- Orleans marching band stampedes cares about anymore."
The biggest resuscitory move in couldn't resist the image of countless tury. And this is the century of the in- by, playing "When the Saints Go Mar- On this night st Autoworld I
Flint today is called AUTOWORLD. straight folk wandering within ear- ternal combustion engine, LSD, ching In." Mr. B, the Boogie Woogie listened as J. C. advised the young
It's no two-bit sideshow; there are shot as I pumped out American Waring Blenders, and improvised specialist, stopped by on his break to risensts. "Jst keep doin' what
signs on the expressway referring Culture in its more jarringly familiar saxophone solos. I had many 78s leaf through my stacks of wax. He trombonin'sP"JytBeBp and wha
directly to it. Thousands are drawn to forms. Relentlessly blaring rinky dink devoted to the automobile, with titles stopped and licked his lips as he held you're hato Play BeB p and Swing.
a revamped six acre structure, fox trots, automotive swing themes, like: "My Buick, My Love and I," my Willie "The Lion" Smith album in All that other shitil be gone
packed neatly with flashy electronic brainless pop and the original Ben "He'll Have to Get Out and Get Un- his big boney fingers. Then Madcat tomorrow. Our music is here to stay.
displays. Apparently, this was not too Hur Life Insurance record. der," "I Wish I Was a Car," and the popped up, his harmonica in his shirt Keep it up, boys. Keep it up." Yes, do.

Records
Peter Cook and Dudley and Clive (Live) this balance is
. thrown out with the bathwater, as the
SMoore - Derek and Clive team delves into the Moore-ish
(Live) (Island) realms of obscenity, bigotry, and
In England the comedy team of drunkenness.
Peter Cook and Dudley Moore is Derek and Clive are the working-
highly regarded, and not without class cockney alter-egos of Moore and
reason. Both were members of the Cook. They first surfaced on
Beyond the Fringe comedy revue homemade tape recordings made by
in the early '60s, which crossed over Moore and Cook after drinking too
to Broadway, and produced a pair of much, and being bored. When fans of
hit records. Their later works in- the team discovered that the team
elude revues, records, movies, and had material stored away, what's
unfortunately, Derek and Clive more, material these wits made
(Live) when drinking, the tapes were
American audiences know Dudley clamored for, and eventually
Moore as a reasonably talented released.
comedic actor who is often much bet- Derek and Clive (Live) is a
ter than the scripts he works with.
Relatively few Americans know of his
career as a part of a comedy duo in
which he is unquestionably the lesser
talent. Moore is primarily a visual
comedian, well-tooled for slapstick
and capable of mugging and chortling
with the best of the muggers and
chortlers, but his partner Peter Cook
is not blessed wth the physical
capabilities Moore has. Thus Cook
evolved as a cerebral wit, aile to
create humorous dialogues and sket-
ches.
Peter Cook's E. L. Wisty, a creaky-
voiced character prone to driving in-
nocent passers-by to distraction with
discussions of anything from bees to
train schedules, is a masterpiece of
construction and characterization.
The blend of highbrow and lowbrow
wit is probably what made the team Dndley Moore s the lowbrew elein
of Cook and Moore so popular in their and ludlev Moore i ioronately
h eland T*,Jsrtonately. on Derek and Clive (Live).


rerelease of one of the many Derek
and Clive records that have been so
popular and successful in England.
The fan demand for the team's rude
material is high there, and Island
records probably hoped that en-
thusiasm would carry over, but since
all Americans know of the team
stems from Moore's movie appearan-
ces this record should surprise
listeners getting their first exposure
to Moore and Cook together. It would
have been so much more appropriate
for Island to rerelease some of the
team's hard-to-find and more
representative earlier material.
The sound quality of the record is
poor. It's not really a live record in

the sense that most "live" records
are. This is a shame, as the routines
could use the support of an audience
that found the material funny and
roared with laughter. Instead we hear
the occasional clink of cocktail
glasses in what sounds like a living
room. At times routines conclude
because Moore begins laughing and
breaks character.
It is clear from the first listening
that these "routines" are completely
improvisational, with each comedian
trying to outpoint or outgross the
other.
At times, one feeds the other a
poorly constructed set-up as a
challenge. Cook and Moore are not
known for their improvisational skills
and whatever skills they do have are
negated by the obviously high blood
alcohol content of the performers.
This record stands as proof that you
only think you're funnier when you're
drunk. It is truly bothersome to
hear gifted comedians do routines
which refer to a penis as a "Winky

Wanky Woo," or spout dialogue like,
He called me afucking cunt.
So what did you say to him?
Isaid don't call me afucking cunt,
you fucking cunt.
And soon and soon, ad infinitum.
Taboo-breaking is a comedian's
last resort. The comedian's job is to
re-present aspects of life ina new and
humorous light. Bathroom humor,
and sexual and racial humor is easy
because general discussion of these
areas is relatively limited and stilted.
There is a narrow track of acceptable
discussion. Thus, taboo areas are ripe
for comedy.
Even so, taboo-breaking itself is not
humorous, and Cook and Moore do lit-
tle more than that on Derek and Clive
(Live). It is expecially irritating
because they are capable of better
work. At the very least the pair should
squelch releases of their drunken
tomfoolery, and keep these tapes to
themselves regardless of whether
there is a demand for them.
- John Logie

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tis elemenm runs rampant on Derek