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The Michigan Daily

Friday, June 3, 1988

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Dancers go ac
BY JOY DAS GUPTA of the Michigan Council for the
Arts' 1988 Creative Artist Award.
P eople Dancing and Jazz In "De Soto Sonata," Setrakian has
Dance Theatre go Back to Back this cooked up a sharp, staccato dance
weekend to present an exciting with a primitive vibration. Added to
menu of modern and jazz dance at this recipe is a polyrhythmic, syn-
the Lydia Mendelssohn Theatre. thesized score by musician Dick
People Dancing will perform Siegel (guitarist for Tracy Lee and
two tasty treats by Marcus the Leonards) and wild, geometric
Schulkind, nationally acclaimed masks designed by painter John El
choreographer and former dancer Kerr.
with the Martha Graham and Lar Setrakian's second piece, "Carry
Lubovitch companies. Me Away," is decidedly more lean.
In "Odd Fellows Ball" Schulkind In this solo, to be danced by Se-
frolics with the dance styles of the trakian, the music is stripped down
'20s in a carefree and whimsical to acoustic guitar and piano. The
manner, using a piano score by jazz costume is mere street clothing, and
great Bix Biederbecke. Schulkind's the movements are often pedestrian
talents for the dramatic come to a gestures. According to Setrakian,
boil in "Job," a solo to be danced "This is art meant for you. Expect
by People Dancing's Artistic to be moved, but don't feel like you
Director Whitley Setrakian. This have to analyze it."
dance dialogue between man and Jazz Dance Theatre will present
God, set to vocals by Randy Neu- an equally exciting meal of jazz
man, is marked with emotionally dance. The 11-person company will
gripping and striking movement. perform works choreographed by
Two more modern dance dishes both company director Priscilla Lo-
will be served by Setrakian, winner zon and associate director Peggy

to Back
Benson. "Jazz dance is not just strut
and wiggle," reminds Lozon. "It's
like women - they've both come a


long way."
"Last Call," by Benson, is a
five-part dance with a '40s night
club backdrop. Using original jazz
piano played live by Ann Arbor
composer Mr. B., this bluesy dance
sizzles with pizazz. Lozon's more
serious "Mundane #12," explores
the frustrations and roadblocks that
artists often face while trapped in
the creative process.
Rounding out the menu is the
company premiere of "Return of the
Shadow," in which Lozon and Ben-
son blend talents for a modern jazz
piece. Music is supplied by Art of
Noise.
Thanks to the solid talents of
Jazz Dance Theater and People
Dancing, surely more than one dish
in this dance buffet will satisfy your
tastes.
BACK TO BACK hits the burner at
the Lydia Mendelssohn Theatre
tonight and tomorrow night at 8

Priscilla Lozon trop) o1 Jazzvca u te u iy
Setrakian (bottom) of People Dancing join forces in 'Back to
Back.'
Phantasmic Pixies
pique pop interest

BY TODD SHANKER
Black Francis, the songwriter
and lead vocalist of the Pixies,
writes the songs the whole world
screams. Well ... maybe not the
whole world, but a lot of people
who would love to blow away Barry
Manilow sure enjoy shrieking along
to the Pixies' neurotic/erotic/psy-
chotic tunes.

crank out some of the most

on't let the fresn aces 1ool you. ihe rixies can
neurotic/erotic/psychotic tunes this side of fairyland.

(T RS ROCK &
ROLL
" RARE EUROPEAN POSTERS
" MUSIC TOUR T-SHIRTS
- SUNGLASSES AND SUMMER CLOTHING
-NOW IN STOCK-

e , Cp-- c- se
Summer Concerts Benefit
featuring
Marvin "Doc" Holladay
plus
Cadeau a Vous
and
The Community High
1:45 Jazz Ensemble
Sunday, June 12, 5-9 pm
Bird of Paradise
(207 S. Ashley)
All ages Admitted.
Tickets $5.00 available at
Schoolkids Records, P.J.'s
Used Records, Discount
Records (on State) and
at the door.
Call 763-0046

The Pixies are comprised of
four sprightly hobgoblins: Black
Francis, who sings and composes
songs from William Burroughs'
Venusian crab boy, stream-of-con-
scious school of thought; Joey
Santiago, the master-blaster of
aching, groin-kick guitars; Mrs.
John Murphy, the celestial bass-
butcher, and last but not least, fire-
cracker drummer David Lovering.
The Pixies' first E.P., 1987's
Come On Pilgrim , was released in
the United States as an import by
the trendy 4 A.D. label. But any-
one who bought the E.P. thinking
it was going to be a dreamy dance
swirl a la the Cocteau Twins (and
most other bands on the label) re-
ceived a big surprise. The Pixies'
debut was a sweaty guitar workout
with riffs that ranged in impact
from brass-knuckle knockouts to
kid-glove love-taps. The raw vocal
arrangements and whiskey-stumble
instrumentation often unexpectedly
vacillated from glaze-eyed numbness
to skin-crawling screams - just
like you do when a big, fat cock-
roach suddenly scuttles across your
feet in the midnight darkness.
The Pixies recently returned
from a smoking European tour
promoting their new LP on Rough
Trade records called Surfer Rosa.
Unlike Come on Pilgrim, how-
ever, Surfer Rosa sifts out the
See Barry, Page 9

" R.E.M.
" THE CURE
" U2.
. GRATEFUL DEAD

. ELVIS
. DEPECHE MODE
" THE SMITHS
. PINK FLOYD

" BOB MARLEY
. NEW ORDER
. T.T. DARBY
AND MORE

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